General Description

The Shure SM57 unidirectional dynamic microphone is exceptional for musical instrument pickup or for vocals. With its bright, clean sound and carefully contoured presence rise, the SM57 is ideal for live sound reinforcement and recording. It has an extremely effective cardioid pickup pattern which isolates the main sound source while minimizing background noise. In the studio, it is excellent for recording drums, guitar, and woodwinds. For musical instruments or vocals, the SM57 is a consistent choice of professional performers.

Features

Placement

General Rules for Use

Aim the microphone toward the desired sound source (such as the talker, singer, or instrument) and away from unwanted sources.

Place the microphone as close as practical to the desired sound source.

Work close to the microphone for extra bass response.

Use only one microphone to pick up a single sound source.

Use the fewest number of microphones as practical.

Keep the distance between microphones at least three times the distance from each microphone to its source.

Do not cover any part of the microphone grille with your hand, as this will adversely affect microphone performance.

Note: The grille on top of the microphone should rotate freely. This is part of the design and does not mean the grille is broken. In certain applications (such as close-miking drums) an audible rattle might occur. A windscreen or a very small piece of foam wedged under the grille can eliminate this problem, but do not apply tape or otherwise cover or block the grille vents, as this disrupts the directionality of the microphone. Please visit the Shure website for more information.

The following table lists the most common applications and placement techniques. Keep in mind that microphone technique is largely a matter of personal taste; there is no one "correct" microphone position.

APPLICATION

SUGGESTED MICROPHONE PLACEMENT

TONE QUALITY

Tom-Toms

One mic on each tom, or between each pair of toms, 2.5 to 7.5 cm (1 to 3 in.) above drum heads. Aim each microphone at top drum heads. On double head toms, you can also remove bottom head and place a mic inside pointing up toward top drum head.

Medium attack; full, balanced sound.

Snare Drum

2.5 to 7.5 cm (1 to 3 in.) above rim of top head of drum. Aim mic at drum head. If desired, place a second mic just below rim of bottom head.

Most "snap" from drumstick. More "snare" sound.

Guitar & Bass Amplifiers

2.5 cm (1 in.) from speaker, on-axis with center of speaker cone.

Sharp attack; emphasized bass.

2.5 cm (1 in.) from speaker, at edge of speaker cone.

Sharp attack; higher frequency sound.

15 to 30 cm (6 to 12 in.) away from speaker and on-axis with speaker cone.

Medium attack; full, balanced sound.

60 to 90 cm (2 to 3 ft.) back from speaker, on-axis with speaker cone.

Softer attack; reduced bass.

Vocals

Lips less than 15 cm (6 in.) away or touching the windscreen, on axis to microphone.

Robust sound, emphasized bass, maximum isolation from other sources.

Avoiding Pickup of Unwanted Sound Sources

Place the microphone so that unwanted sound sources, such as monitors and loudspeakers, are directly behind it. To minimize feedback and ensure optimum rejection of unwanted sound, always test microphone placement before a performance.

Recommended Loudspeaker Locations for Cardioid Microphones

Proximity Effect

Unidirectional (cardioid) microphones progressively boost bass frequencies by 6 to 10 dB below 100 Hz when the microphone is at a distance of about 6 mm (1/4 in.) from the sound source. This phenomenon, known as proximity effect, can be used to create a warmer, more powerful sound. To prevent explosive low frequency sound during close-up use, the bass response gradually rolls off. This provides greater control and helps the user take advantage of proximity effect.